Institutio Oratoria

Quintilian

Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.

There is one point which it is specially important to

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remember, that we should never attempt to move our audience to tears without drawing on all the resources of our eloquence. For while this form of emotional appeal is the most effective of all, when successful, its failure results in anti-climax, and if the pleader is a feeble speaker he would have been wiser to leave the pathos of the situation to the imagination of the judges.

For look and voice and even the expression on the face of the accused to which the attention of the court is drawn will generally awaken laughter where they fail to awaken compassion. Therefore the pleader must measure and make a careful estimate of his powers, and must have a just comprehension of the difficulty of the task which he contemplates. For there is no halfway house in such matters between tears and laughter.

The task of the peroration is not however confined to exciting pity in the judges: it may also be required to dispel the pity which they feel, either by a set speech designed to recall them from their tears to a consideration of the justice of the case, or by a few witticisms such as,

Give the boy some bread to stop him crying,

or the remark made by counsel to a corpulent client, whose opponent, a mere child, had been carried round the court by his advocate,

What am I to do? I can't carry you!

Such jests should not however descend to buffoonery. Consequently I cannot give my approval to the orator, although he was one of the most distinguished speakers of his day, who, when his opponent brought in some children to enhance the effect of his peroration, threw some dice among them, with the result that they began to scramble for them. For their childish ignorance of the perils with which

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they were threatened might in itself have awakened compassion.

For the same reason I cannot commend the advocate who, when his opponent the accuser produced a bloodstained sword in court, fled suddenly from the benches as though in an agony of terror, and then, when his turn came to plead, peeped out of the crowd with his head half covered by his robe and asked whether the man with the sword had gone away. For though he caused a laugh, he made himself ridiculous.

Still, theatrical effects of the kind we are discussing can be dispelled by the power of eloquence. Cicero provides most admirable examples of the way in which this may be done both in the pro Rabirio [*](cp. Pro Rab. ix 24. ) where he attacks the production in court of the portrait of Saturninus in the most dignified language, and in the pro Vareno where he launches a number of witticisms against a youth whose wound had been unbound at intervals in the course of the trial.

There are also milder kinds of peroration in which, if our opponent is of such a character that he deserves to be treated with respect, we strive to ingratiate ourselves with him or give him some friendly warning or urge him to regard us as his friends. This method was admirably employed by Passienus when he pleaded in a suit brought by his wife Domitia against her brother Ahenobarbus for the recovery of a sum of money: he began by making a number of remarks about the relationship of the two parties and then, referring to their wealth, which was in both cases enormous, added,

There is nothing either of you need less than the subject of this dispute.

All these appeals to emotion, although some hold

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that they should be confined to the exordium and the peroration, which are, I admit, the places where they are most often used, may be employed in other portions of the speech as well, but more briefly, since most of them must be reserved for the opening or the close. But it is in tile peroration, if anywhere, that we must let loose the whole torrent of our eloquence.

For, if we have spoken well in the rest of our speech, we shall now have the judges on our side, and shall be in a position, now that we have emerged from the reefs and shoals, to spread all our canvas, while since the chief task of the peroration consists of amplification, we may legitimately make free use of words and reflexions that are magnificent and ornate. It is at the close of our drama that we must really stir the theatre, when we have reached the place for the phrase with which the old tragedies and comedies used to end,

Friends, give us your applause.

In other portions of the speech we must appeal to the emotions as occasion may arise. For it would clearly be wrong to set forth facts calling for horror and pity without any such appeal, while, if the question arises as to the quality of any fact, such an appeal may justifiably be subjoined to the proofs of the fact in question.

When we are pleading a complicated case which is really made up of several cases, it will be necessary to introduce a number of passages resembling perorations, as Cicero does in the Vetrines, where he laments over Philodamus, the ships' captains, the crucifixion of the Roman citizen, and a number of other tragic incidents.

Some call these μερικοὶ ἐπίλογοι, by which they mean a peroration distributed among different portions of a speech.

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I should regard them rather as species than as parts of the peroration, since the terms epilogue and peroration both clearly indicate that they form the conclusion of a speech.

II. The peroration is the most important part of forensic pleading, and in the main consists of appeals to the emotions, concerning which I have consequently been forced to say something. But I have not yet been able to give the topic specific consideration as a whole, nor should I have been justified in doing so. We have still, therefore, to discuss a task which forms tile most powerful means of obtaining what we desire, and is also more difficult than any of those which we have previously considered, namely that of stirring the emotions of the judges, and of moulding and transforming them to the attitude which we desire.

The few remarks which I have already made on this subject were only such as were essential to my theme, while my purpose was rather to show what ought to be done than to set forth the manner in which we can secure our aim. I must now review the whole subject in a more exhaustive fashion. There is scope for an appeal to the emotions, as I have already said,1 in every portion of a speech. Moreover these emotions present great variety, and demand more than cursory treatment, since it is in their handling that the power of oratory shews itself at its highest. Even a slight and limited talent may,

with the assistance of practice or learning, perhaps succeed in giving life to other departments of oratory, and in developing them to a serviceable extent. At any rate there are, and have always been, a

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considerable number of pleaders capable of discovering arguments adequate to prove their points. I am far from despising such, but I consider that their utility is restricted to providing the judge with such facts as it is necessary for him to know, and, to be quite frank, I regard them merely as suitable persons to instruct pleaders of real eloquence in the facts of a case. But few indeed are those orators who can sweep the judge with them, lead him to adopt that attitude of mind which they desire, and compel him to weep with them or share their anger.

And yet it is this emotional power that dominates the court, it is this form of eloquence that is the queen of all. For as a rule arguments arise out of the case itself, and the better cause has always the larger number to support it, so that the party who wills by means of them will have no further satisfaction than that of knowing that his advocate did not fail him.